This song is catchy as hell. Looping vocals provide a hook that gets you interested in what’s coming right from the start, and after the kicking bass gets going 15 seconds in, it’s only a matter of time till things gradually start to take place.

Bouncy synths get involved on 30 seconds that jump and thump around the constant bass, and when the minute mark arrives, we’re treated to a rhythm that ties in 90s groove with twisting synth work to make up a beat that will work wonders on the dancefloor.

This beat sees the song through its duration, and will no doubt see many a club goer through a night of intensive shuffling. The tune dips and dives out of vocals and rhythms to stop it becoming too cyclical, and while it may be a bit abstract for regular home play, it’s sure to be a number well received in the clubs.

Deadmau5 – Avaritia 3/5

Controversial Canadian electronic music maestro Deadmau5 returns with Avaritia ahead of his upcoming album release on 17 June.

A melodic electronic flow builds up slowly before bursting into life to introduce this song with a rhythm that wouldn’t be misplaced on Daft Punk’s Tron: Legacy Soundtrack. After fading out, this is replaced with a hypnotic looping bass beat, which thumps repetitively before the original soundings begin to work their way back in.

This thumping fuzz possibly goes on a little too long however. It may have worked well as a quick bridge to lay the way for a second piece of progression or as a canvas from which to introduce some lyrics, but rather it becomes slightly monotonous in the background as it proceeds for a substantial period of the track.

When the original beat does return in subdued style in the lead up to the reintroduction of a synth which proves catchy as hell, it works well. Unfortunately the gap between the good work proves too large for the track to really impress though.

The Story So Far – Navy Blue 2/5

A short and sweet track from Californian five-piece The Story So Far. A slow, inviting acoustic guitar opens the song to the untouched, roughly provided vocals from the wonderfully named Parker Cannon, but you can’t help but feel like if the vocals weren’t hiding behind the guitar work as much, this song would have been much more accessible.

Nevertheless, it’s a sentimental effort, and one that makes for easy listening from the pop-punk group that have been known to lay down much more in-your-face, upbeat efforts in the past.

Every artist needs their slower tracks though, and the vocals on this number do show that the band is still doing good work ahead of the upcoming release of their next EP, from which this single is taken.

Despite this remark though, it’s a little hard not to pine for a big breakdown halfway through this song which could well have made this number a cult hit and a live favourite.

The 1975 – Robbers 3/5

A slow and steady riff starts off this single before the relaxed vocals begin. With the faded nature of the singing from Matthew Healey playing out over a looping bass, it’s really the instrumentals that drive the beginning of this number, although this does change when we pass the minute mark and Healey begins to impose on the track.

A meaningful chorus follows before the looping bass again takes control of a track which relies on persistent drums and a cheeky background riff which only chips in on occasion. The more frequent recurrence of this riff could perhaps have benefited the record, which becomes increasingly bland as it draws to a close.

Solid vocal work and lyrics which tell a haunting love story should have taken more prominence than they do. This isn’t a bad record, but it could have been much more.

Twin Atlantic – Heart and Soul 4/5

Glasgow rock group Twin Atlantic are back with a new single in the lead up to their third album Great Divide, and it’s a track that will grow on you uncontrollably until you simply can’t help but try out your best Sam McTrusty impression at near enough every opportunity you get.

Seriously, this song didn’t make the greatest impression on the JFC team when it first came out. Now we’re rocking around our respective flats yelling out the opening line like we’re going to drop dead if we stop it.

That catchy opening line (I switch the flick on the generator/So I can turn you on), comes on the back of some thumping instrumental work that gives McTrusty an anthemic introduction. The vocalist doesn’t hold back with his strong, signature sound flying out high over a number that bursts into life at the chorus.

The Scottish rockers present us with a record full of resounding verses, smart guitar and drum work and a rhythm that is impossible to get out of your head. Good work Twin, and good to have you back.

Of Mice & Men – Would You Still Be There 4/5

There has been a lot of talk in the metal world about Of Mice & Men becoming a bit too commercialised and a little too soft for the hard-hitting fans that demand perfection from their genre.

This track is certainly not as heavy as the previous work from Austin Carlile & co. but it by no means shows signs of commercialisation from the Americans. Fighting guitar riffs play from the start before the lead guitar takes over to kick in with a killer riff that proves catchy as hell.

Clean vocals hang around the chorus and lurk in the background of verses that combine to make a very listenable track that maintains the heavy roots of the band. Instrumental work is bridged brilliantly and although the necessary breakdown is a little short, it keeps in tone with the radio-metal nature of the overall song.

★ RECORD OF THE WEEK ★

Jesse Glynne – Right Here 4/5

Impressive vocalist Jess Glynne has had massive charting success recently on electronic records including Clean Bandit’s smash hit Rather Be and house sensation My Love from Route 94, and the artist is now back with a debut track of her own as she looks to capitalise on the rise of house music currently captivating the country.

Her single Right Here is produced by British upcoming breakthrough act Gorgon City, so the singer was always bound to be off to a good start. A light backbeat serenades Glynne in the opening verse of the track, but while the pipes of the London singer float nicely over the melody serenading her lyrics, Gorgon City really steal the show on the single when their thumping bassline kicks in after 40 or so seconds.

A simple yet mouth-wateringly effective bassline moves up and down alongside a touch of brass, during the chorus, and when the subdued, funky backing returns during the chorus, the listener is really just left pining for another dose of that big bad bass at the chorus.

Good work by Glynne here, but it is a little overshadowed by a fantastic turn out from the Gorgon City lads. Don’t be fulled though – Glynne can sing (check out her track Home for another great record), and she could well be heading for a lengthy spell in the charts. Stuart Kenny